"9R   ' '""ARY 


^^    0° 


'*J♦>.*^<^s^fel!^-*^.^M^.^^^^^•^^•h.^•^ 


OF 


MADAME 


Adelina  Patti. 


BY 


n/" 


STEINWAY  &  SONS'   CELEBRATED   PIANOS    ^ 

Used  at  all  Mme.  A,  Path's  Concerts. 


STEINWAY  &  SONS 

Will  be  pleased  to  mail  their 

ILLUSTRATED    CATALOGUE, 

Free    of   charge    to    any    address,     upon    receiving    application 

to  that  effect. 


ADDRESS: 

STEINWAY  &  SONS, 

Steinway  Hall, 
NEW  YORK. 


BIOGRAPHICAL  SKETCH 


OF 


MADAM  E 


Adelina  Path. 


BY 


Michel    Mortier. 


STEINWAY   &   SONS'   CELEBRATED   PIANOS 


USED  AT  ALL  MME,  A.  PATH'S  CONCERTS. 


FRANZ    LISZT. 

Messrs.  Stedtwat  &  Sons: 

Gents:  The  magnificent  Steutwat  Grand  Piano  now  stands  in 
my  music  room,  and  presents  a  harmonic  totality  of  admirahle  qualities^ 
a  detailed  enumeration  of  which  is  the  more  superfluous  as  this  instrument 
fully  justifies  the  world-wide  reputation  that  for  years  you  have  every- 
where enjoyed. 

After  so  much  well-deserved  praise,  permit  me  also  to  add  my 
homage,  and  the  expression  of  my  undisguised  admiration,  -snth  which 
I  remain, 

Very  sincerely  yours, 

FRANZ  LISZT. 


ANTON   BUBINSTEIN. 

New  York,  May  24,  1873. 
Messrs.  Steinwat  &  Sons: 

Gentlemen:  On  the  eve  of  returning  to  Europe,  I  deem  it  my 
pleasant  duty  to  express  to  you  my  most  heartfelt  thanks  for  all  the 
kindness  and  courtesy  you  have  shown  me  during  my  stay  in  the  United 
States;  but  also,  and  above  all,  for  your  unrivaled  Piano-Fortes,  which 
once  more  have  done  full  justice  to  their  Avorld-\nde  reputation,  both  for 
excellence  and  capacity  of  enduring  the  severest  tiials.  For  during  all 
my  long  and  difiicult  journeys  all  over  America,  in  a  very  inclement 
season,  I  used,  and  have  been  enabled  to  use,  your  Pianos  exclusively  in 
my  Two  Hundred  and  Fifteen  Concerts,  and  also  in  private,  with  the 
most  eminent  satisfaction  and  effect. 

Yours  very  truly, 

ANTON  RUBINSTEIN. 


THEOBOBE    THOMAS. 

Cincinnati,  July  19,  1879. 
Messrs.  Steinwat  &  Sons: 

Gentlemen:  I  consider  the  Steinway  Piano  the  best  Piano  at 
present  made,  and  that  is  the  reason  why  I  use  it  in  private  and  also  in 
all  my  public  concerts. 

As  long  as  the  Pianos  of  Messrs.  Steinwav  &  Sons  retain  that  hiffh 
degree  of  excellence  of  manufacture,  and  those  admirable  qualities  which 
have  always  distinguished  them,  I  shall  continue  to  use  them  in  preference 
to  all  other  Pianos. 

Respectfully  Yours, 

THEODORE  THOMAS. 


y  t*  /rj^/ 


|raic-y-nos  ©astle 

iSTRADCYNLAiS, 

(Swansea  Valley) 
South  Wales. 


^^. -^^   ^/^;*-*-^^^i^-^__  . 


^^Z-*-6.'i^^:=^»=-*-^      ^-*"^-*-^        -<5-c--^^A--«^^SP'**|^ — 


^-rf-^X^- 


863    BROADWAY,    NEW   YORK, 

(Between  17th  and  18th  Streets,) 

Will,  give   Special  Attention  to  OUT  -  OF  -  TOWN   Orders  for  their 

FRESH,  PURE,  DELICIOUS 

CONFECTIONS. 


Patrons  may  specify  preference  from  the  following : 

BOlsTBOD^S 

OF 

Orange^  Letnon^  Marron^  JRaspherry^  Pine  Applet 
Fruits  preserved  hy  us  in  our  own  factort/. 

Also  Maple,  Chocolate,  HlcUorynut  <i;  Cocoanut  Bonbons. 

MARSH-MALLOWS,  CREAM  ALMONDS. 

Burnt  Almonds,  Crisp  and  Ctwice  Flavor. 


Vanilla,  Coffee, 
Maple 

WALNUTS. 


Butter,  HIckorynut, 
Cocoanut  and  Raspberry 

CUPS. 


GENUINE  TURKISH    (from  Constantinople)   FIC   PASTE. 
Old-fashioned    Molasses   Candy. 


FINE  CHOCOLATES. 

Cliocolate  White  Nougat,  Chocolate  Jellies, 

"  Burnt  Almonds,  "  Orange  and  Lemon, 

Chocolate  Quince  aiul  Fine  Apple. 

Send  $1.00,  $2.00,  $3.00,  or  $5.00, 

To    the    above   address,    and    receive    in    return,    by  mail    or    express    (prepaid), 
package  of  our  candy. 

^^  HOLIDAY  ORDESS  should  te  sent  us  by  December  18tL 


^Jfy 


^ 


/ 


i 


-4 


Q^-' 


TfSTTORS,  independently  of  any  in- 
tention to  piirclinse,  are  invited  to  the 
Dstablishnient  of 

Jflr.  THEODORE  B.  I^TARR, 
906  FilHli  Avenue,  Ifladison  Square, 
between  Soth  and  36th  l§treets, 
I¥eiv  York. 
The  Salesrooms  occupy  thrpp  floors. 
The  lirst  exhibits  every  variety  of 
unique  desig-ns,  Foreig'n  and  American 
Watches,  etc.  The  sprond  comprises  one 
of  the  most  extensive  stocks  in  this 
country  ot*  the  finest  Diamond  Jeivelry, 
of  orig^inal  desigrns,  finest  Solitaire  and 
critically  matched  Diamonds,  rare 
Pearls,  Rubies,  Emeralds,  Sapphires,  and 
other  precious  stones,  Gola  Jewelry  in 
novel  desigrns,  at  close  prices.  In  the 
third  is  displayed  a  choice  collection 
or  Patent  keyless-windings  French  Clocks 
controlled  by  this  house,  artistic  Bronzes, 
Ulantel  Sets,  etc.,  and  decorative  Por- 
celain of  the  Royal  Worchester,  Iflin- 
ton,  and  other  favorite  wares,  in  Tases, 
Plaques,  etc. 


!ELI»i  PAf  TI. 


Sans  doute  qnelque  fee  heureuse  qu'on  adore 
Doua  de  son  genie,  en  tournant  le  fuseau, 
Adelina  Patti,  souple  comme  un  roseau, 
Folle  comme  une  enfant,  jeune  comme  raurore ! 

On  voit,  en  s'elan^ant  de  son  gosier  sonore, 
Les  notes  de  son  chant  gonfler  son  cou  d'oiseau; 
Elle  tient  les  coeurs  pris  comme  dans  un  reseau 
Et  mille  fleurs  de  feu  dans  I'air  semblent  eclore. 

Et  tandis  que  sa  voix,  dveillant  le  frisson 
Des  enchantements,  vibre,  et  decoupe  le  son 
Tissu  mysterieux,  en  feeriques  dentelles, 

On  dirait  qu'elle  veut  au  ciel  prendre  son  vol, 
Quand  ses  bras  gracieux  battent  comme  des  ailes, 
Car  elle  a  I'oeil  per^ant  et  noir  du  rossignol ! 


Theodore  de  Banvillb. 


MADAME 


BIOGRAPHY. 
I. 

ADELrtTA  Patti  is  almost  as  much  an  American  as  a  Spaniard. 
Bom  in  Madrid,  on  the  19th  February,  1843,  she  came,  at  the  early 
age  of  five,  to  the  United  States,  where  her  family  settled  and  where 
she  was  brought  up  until  her  seventeenth  year.  Adelina's  mother  was 
well-known  in  the  dilettante  world  under  the  name  of  Madame  Barilli. 
She  made  an  excellent  record  in  the  principal  cities  of  Italy  and  her 
second  husband  Salvator  Patti  was  also  a  distinguished  singer.  After 
the  birth  of  Adelina,  Madame  Patti,  who  had  already  given  birth  to 
seven  children,  wished  to  return  to  the  stage,  but  unfortunately  her  voice 
had  entirely  disappeared  and  she  was  obliged  to  bid  fai-ewell  for  ever  to 
the  theatre. 

"I  really  think,"  said  Madame  Patti,  "that  Adelina  has  taken  all 
my  voice  from  mej"  and,  indeed,  it  seems  that  she  could  not  have  spoken 
the  truth  more  precisely. 

In  1848  after  cons^iderable  losses  the  Patti  family  came  to  New  York, 
where  Maurice  Strakosch,  Adelina's  brother-in-law,  was  the  manager  of  the 
Italian  Opera  in  a  fairly  successful  season.  From  that  time,  that  is  to 
say,  from  the  time  when  she  was  only  five  j'ears  old,  the  iiresistible  voca- 
tion of  Adelina  showed  itself.  Music  was  her  first  amusement,  and  she 
sang  as  she  spoke.  So  it  happened  that  one  day  when  her  mother  repre- 
manded  her  about  the  constant  singing,  which  she  thought  a  fault, 
Adelina  replied  :  "  What  can  1  do.  Mamma,  I  cannot  speak,  but  the  moment 
I  begin  to  sing  everything  becomes  easy  to  me." 

Naturally  when  he  saw  the  extraordinary  aptitude  of  his  little  sister- 
in-law,  Maurice  Strakosch  immediately  guessed  how  much  he  could  make 
of  her,  and  he  gave  himself  up  to  contrive  a  scheme  by  which  he  could 
get  possession  of  this  little  star.  He  sought  to  train  her  and  above  all, 
he  taught  her  not  to  tire  her  voice,  the  voice  which  has  since  proved  so 
Sixen-like  in  its  enchanting  power. 


At  that  time  Madame  Alboni,  who  happened  to  be  in  New  Yort,  and 
who  had  heard  a  great  deal  about  the  phenomenal  Adelina,  expressed 
a  gi-eat  desire  to  hear  her.  Adelina  was  very  willing  to  sing  before  the 
celebrated  artiste,  but  only  on  one  condition,  which  was,  that  they 
should  have  a  game  of  hide  and  seek  together.  In  spite  of  her  large 
and  majestic  frame  Alboni  accepted  the  terms,  but  all  at  once  Adelina 
disappeared  and  she  was  found  hidden  underneath  a  bed  where 
she  was  almost  choking  with  laughter.  Alboni  could  not  possibly  catch 
her  in  such  a  hiding  place.  Adelina  continued  to  laugh  at  her  play- 
mate's discomfiture,  but  the  latter  was  equal  to  the  occasion  and  estab- 
lished a  siege.  She  sat  down  before  the  bed  and  refused  to  allow 
Adelina  to  come  out  until  she  had  consented  to  sing.  And  it  was  in  that 
horizontal  position,  the  worst  in  the  world  for  singing,  that  Adelina  Patti 
for  the  first  time  in  her  life  sang  the  entire  aria  from  Sonnambula;  an 
aria  which  she  has  since  made  one  of  her  greatest  triumphs.  Alboni  sat 
in  mute  astonishment  and  when  the  little  warbler  had  finished  she  clasped 
her  in  her  arms,  exclaiming: 

"Ah,  my  dear  child,  the  day  will  come  when  you  will  make  the 
world  forget  us  all ! " 

A  short  time  after  this  Adelina  made  her  first  appearance  at  a  concert 
given  at  Tripler  Hall,  and  in  mentioning  this  debut  we  cannot  pass 
over  an  incident  which  well  characterizes  the  charming  childhood  of  the 
debutante.  When  she  was  about  to  go  on  the  stage  after  the  curtain  was 
raised  she  asked  for  her  doll.  Her  parents  at  first  pretended  to  be  angry 
with  her,  but  nothing  would  do,  and  she  declared  that  she  could  not  sing 
without  the  doll.  They  were  obliged  to  yield  and  with  the  doll  in  her  arms 
she  advanced  resolutely  to  a  table  upon  which  she  was  lifted  in  order  that  the 
audience  might  be  able  to  see  her.  Her  success  was  enormous  and  upon  the 
next  day,  all  New  York  was  filled  with  the  name  and  praise  of  Adelina  Patti. 
After  her  successful  appearance  at  Tripler  Hall  she  visited  the  prin- 
cipal towns  of  the  United  States.  She  gave  concerts  at  Washington, 
Boston,  Philadelphia,  New  Orleans  and  elsewhere,  and  everywhere  she 
met  with  great  success.  After  traversing  the  United  States  she  went 
to  Havana  and  concluded  her  series  of  concerts  at  Porto  Rico. 

It  was  on  her  return  to  New  York  that  her  serious  studies  began,  and 
in  order  to  follow  them  up  assiduously,  she  practised  for  three  j^ears  without 
appearing  upon  the  stage.  Manzocchi,  a  professor,  who  was  then  well- 
known  in  the  United  States,  began  her  musical  education  and  taught  her 
the  scales.  For  eighteen  months  he  continued  to  instruct  her,  but  when 
the  time  came  for  her  to  appear  upon  the  stage  Ettore  Barilli,  her  half- 
brother,  finished  her  musical  education.  It  Avas  also  Ettore  Barilli  who 
wrote  the  famous  point  d^orgue  for  Madame  Patti  which  she  gave  with 
such  wonderful  effect  in  "Lucia." 


xo 

During  these  three  years  which  were  entirely  given  up  to  study  she 
had  readied  tlie  age  of  sixteen  and  she  would  still  have  waited  for 
sorae  years  before  appearing  in  public,  had  it  not  been  for  a  particular 
drcurastance  which  hastened  the  time  of  her  appearance.  In  1859  the 
political  crisis  which  culminated  in  the  war  was  already  making  itself  felt. 
Naturally  the  theatres  were  among  the  first  to  suffer  from  this  feeling  of 
uncertainty.  So  the  Italian  Opera  at  New  York  where  performances 
were  being  given  at  the  Academy  of  Music  under  the  direction  of  Maurice 
Strakosch  and  Ullman  suffered  severely.  In  spite  of  the  energy  of  the 
managers  and  an  excellent  company  of  artists  the  enterprise  was  about 
to  fall  to  pieces.  A  final  attempt  to  save  the  numerous  interests  which 
were  involved  in  the  opera  venture  had  to  be  made,  and  it  was  at  that 
moment,  under  the  most  unfavorable  auspices  for  a  debut,  that  the  public 
of  New  York  saw  Adelina  Patti  still  almost  a  child — for  she  was  only 
sixteen — make  her  first  appearance  in  "Lucia  di  Lamipermoor."  This 
took  place  upon  the  24th  of  November,  1 859.  One  might  have  thought 
that  it  would  only  have  been  possible  for  the  young  singer  to  attempt  the 
difficult  role  of  Lucia  with  many  alterations  and  apologies.  But 
although  naturally  moved,  Adelina  created  a  murmur  of  astonish?nent 
from  the  first  act.  Admiration  succeeded  to  astonishment,  for  the  part  of 
Lucia  had  never  before  been  rendered  with  so  much  art  and  so  much 
passion.  Her  success  was  immense.  After  many  years  the  cantatrice 
can  look  back  upon  no  greater  triumph.  The  enthusiasm  of  the  people 
was  enormous.  The  })ublic  forgot  politics  and  came  in  crowds  to  the 
Academy  of  Music  where  each  performance  was  an  ovation  for  the  young 
artiste. 

The  Italian  Opera  was  saved ;  Adelina  Patti  saved  it. 

IL 

As  HAS  BEEN  sliown  in  the  last  chapter  it  was  in  the  New  World 
that  the  Star  rose  which  shines  so  brightly  all  over  the  globe  to-day.  It 
•can  be  truly  said  that  all  nations  may  claim  the  honor  of  owning  her, 
for  Paris,  London,  Vienna,  St.  Peteisburgh,  Madrid,  Brussels  and  all 
•Germany  have  one  after  the  other  applauded  her.  Adelina  Patti  is  a 
■citizen  of  the  world;  for  everywhere  she  has  had  immense  ovations  and 
provoked  the  greatest  enthusiasm. 

After  a  year's  sojourn  in  New  York,  the  young  singer,  who  was 
already  a  shining  star,  went  to  London,  where  she  made  her  first  appear- 
ance on  May  14,  1861,  at  the  Covent  Garden  Theatre  in  the  part  of 
'^Amina,"  in  **  Sonnambula."  It  is  needless  to  say  that  her  success  was 
enormous  and  on  the  next  day  every  capital  in  Europe  resounded  with 
the  name  of   Adelina  Patti.     Propositions  exceptionally  favorable  were 


11 

made  to  her  from  all  sides;  but  none  was  accepted,  for  the  great  artiste, 
with  a  most  praiseworthy  sentiment  of  gratitude  towards  the  people  who 
were  the  first  to  welcome  her  upon  European  soil,  resolved  to  pass  the 
whole  season  in  London. 

To  describe  this  season,  at  length,  would  be  tiresome  to  the  reader, 
for  it  would  merely  be  to  repeat  over  and  over  again  the  words  "success, 
success,  success."  The  following  story  will  show  how  great  the  victory 
— for  that  is  the  proper  word — gained  by  the  young  debutante  was.  It 
had  been  agreed  between  Patti  and  the  Manager  of  the  Covent  Garden 
Theatre,  Mr.  Gye,  that  she  should  make  three  debuts  Avithout  any 
compensation;  after  that,  if  she  proved  successful,  he  promised  to  sign  an 
agreement  giving  her  6£100  a  month  after  the  first  two  performances,  but 
her  success  was  so  great  that  Gye  himself  brought  her  of  his  own  accord 
a  contract  giving  her  c£400  a  month  and  wanted  her  to  make  it  for  thi-ee 
consecutive  seasons.  It  should  be  mentioned  here  that  Madame  Patti  is 
paid  as  much  as  $4000  an  evening  now  in  some  towns,  so  that  the  sum 
of  $2000  a  month  seems  very  small.  But  it  must  not  be  forgotten  that 
when  she  first  appeared  her  manager  might  have  held  her  to  the  terms  of 
her  engagement,  that  is  to  say  to  c£100  a  month. 

After  her  triumphs  at  New  York  and  London,  Adelina  Patti 
went  to  Paris  where  she  made  her  first  appearance  upon  November  1 7th, 
1862,  at  the  Theatre  Ifalien  in  the  part  of  "Amina,"  in  *'Sonnambula." 
The  arti&tic  capital  of  the  world  awaited  with  lively  curiosity  the  appear- 
ance of  the  great  singer,  who  had  astonished  the  American  and  English 
public.  The  Parisian  public  fearing  some  exaggeration  in  the 
enthusiasm  created  in  other  countries  by  the  young  artiste,  wished  at 
first  to  reserve  its  full  appreciation,  but  frona  the  sound  of  her  first  notes, 
reserve  disajjpeared  making  way  for  an  immense  ovation.  Even  the 
"old  stagers"  who  had  shown  so  much  scepticism  about  the  debutante 
were  obliged  to  confess  that  the  part  of  "Amina"  had  never  before  been 
better,  indeed,  not  so  Avell  played.  Never  before  had  they  seen  such  a 
marvellous  charm  ;  nor  had  the  ear  ever  been  caressed  with  sounds  so 
pure  and  so  divine. 

III. 

After  London  and  Paris  Adelina  Patti  went  to  Madrid  for  a  series  of 
fifteen  representations.  The  people  of  Madrid  remembering  that  the  new 
star  had  been  born  in  their  city,  prepared  to  give  her  a  grand  reception,  but 
the  majority  of  them  were  unable  to  hear  her.  The  audience  which  was 
present  on  the  first  night  was  so  astonished  and  delighted  that  every  seat  in 
the  theatre  was  taken  during  the  second  act  for  the  whole  time  that  Patli 
was  to  remain  in  Madrid.  One  can  easily  imagine  how  great  the  disappoint- 
ment of  the  other  inhabitants  was  w  hen  they  learned  that  it  would  be 


12 

impossible  for  them,  even  once,  to  hear  the  great  star.  So  great  was  the 
excitement  that  it  required  an  extra  body  of  police  to  keep  order  and 
-prevent  the  more  excited  admirers  of  "La  Diva,''  from  coming  to  blows. 

Such  an  ovation  has  never  welcomed  any  artist  even  at  the  apogee  of 
her  fame ;  and  at  that  time  Adelina  Patti  was  merely  a  debutante,  almost 
unknown. 

Naturally,  her  success  had  to  increase  and  a  large  volume  would 
scarcely  suffice,  were  we  to  recount  each  new  triumph.  Great  ovations 
welcomed  her  m  "Lucia,"  "Traviata,"  "Linda  di  Chamounix," 
"Kigoletto,"  "Trovatore,"  "Barbiere,"  "Don  Pasquale,"  "Marta,"  and 
later  on  in  "Pardon  de  Ploermel','  "Faust,"  "Etoile  du  Nord,"  "Romeo 
et  Juliette,"  "Huguenots,"  " Semiramide,"  "Otello,"  "Aida,"  etc.,  etc.  It 
would  be  impossible  to  describe  in  proper  teiTns  the  great  talent  with 
which  the  incomparable  artiste  rendered  these  parts,  which,  when  inter- 
preted by  her  became  veritable  creations  and  appeared  to  the  public 
under  an  altogether  new  and  ideal  light.  We  may  say,  with  Theophile 
Gautier : 

,     "Apres  cela,  I'art  remonte  a  Dieu." 


IV. 

After  her  marriage  with  the  Marquis  de  Caux,  which  took  place  on 
July  27th,  1868,  and  at  which  the  Duke  of  Manchester  was  present  a& 
the  "temoin"  of  the  bride,  she  appeared  again  on  the  stage  in  Paris,  but 
only  for  six  weeks,  for  a  brilliant  engagement  of  two  months  took  her 
away  to  St.  Petersburgh.  Her  success  in  the  Russian  capital  surpassed 
all  imagination.  The  town  opened  a  subscription  to  procure  a  neck-lace 
of  diamonds  which  was  to  be  presented  to  the  illustrious  singer.  In  a 
few  weeks  the  subscription  had  reached  the  enormous  sum  of  100,000 
roubles.  .  The  Czar  himself  gave  her  the  medal  of  merit  made  of  gold 
and  diamonds,  and  she  was  received  at*  Court  with  all  the  honors  due  to 
an  artist  of  her  high  rank. 

After  Russia  came  Germany,  then  Italy,  Belgium  and  Holland. 
Everywhere  the  public  worshipped  the  divine  cantatrice  and  gave  her 
receptions  so  magnificent  that  no  recital  could  do  them  justice.  Besides 
it  would  be  merely  a  repetition,  for  everj'where  the  same  success,  the 
same  victories  awaited  her.  Adelina  Patti  could  say  ^vith  Caesar,  but 
with  a  slight  variation  : 

"I  came,  I  sang,  I  conquered!" 

But  all  these  triumphs  and  the  adulation  which  was  heaped  upon 
her  in  no  way  detracted  from  either  her  modest  demeanor  or  her  charity. 
Everyone  who  has  had  the  honor  of  meeting  Madame  Patti  will  agree 


13 

with  us  that  the  glorious  halo  which  envelopes  her  has  not  lessened  in  the 
slightest  degree  her  natural  affability  or  her  exquisite  goodness.  She 
still  enjoys  a  surprise  as  a  child  would  and  the  slightest  attention  flatters  her 
just  as  it  did  at  the  beginning  of  her  career  so  it  does  now  after  the  twenty 
years,  during  which  she  has  reigned  triumphant  wherever  she  has  been. 

At  the  risk  of  shocking  the  truly  sincere  modesty  of  our  heroine,  we 
cannot  refrain  from  mentioning,  among  a  large  number  of  charitable  acts, 
a  few  which  seem  to  us  to  have  the  greatest  interest  for  our  readers. 

In  1865,  Adelina  Patti  was  engaged  at  Florence  for  a  series  of  ten 
performances  when  the  Asiatic  fever  broke  out  among  the  working  classes 
with  great  fury.  The  great  artiste,  of  her  own  accord,  gave  up  all  her 
engagements  for  the  evening  and  organized  a  representation  for  the  aid 
of  the  sufferers  from  the  epidemic. 

In  1875  she  sang  for  the  Deaf  and  Dumb  Hospital  which  was  about 
to  be  built  in  London.  The  honor  of  laying  the  fii"st  stone  was  tendered 
to  her,  and  the  memorable  occasion  is  perpetuated  by  the  inscription  on 
that  stone  which  can  be  seen  at  the  corner  of  Gray's  Inn  Road  in 
London.     The  inscription  upon  it  reads  as  follows : 

"  This  Stone  was  laid  by  Madame  Adelina  Patti,  Marquise  de  Caux, 
16  September,  A.  D.  1875." 

Again  after  the  Franco-German  war,  she  gave  a  representation  in 
Paris  in  aid  of  the  wounded.  This  charitable  performance  brought  in 
no  less  than  $12,000.  But  even  this  grand  generosity  was  surpassed 
when  last  spring  she  organized  in  Paris  a  concert  for  the  sufferers  by  the 
fii-e  at  the  Theatre  at  Nice,  which  netted  over  $28,000. 

Indeed  whenever  there  has  been  a  question  of  real  sorrow  or  misfor- 
tune Madame  Patti  has  never  waited  to  be  called  upon  before  she  ten- 
dered her  services. 


We  have  now  reached  a  point  far  distant  from  the  little  debutante  of 
Tripler  Hall  and  the  Academy  of  Music.  She  who  passed  all  her 
childhood  in  the  United  States,  returns  as  a  conqueror,  happy  in  what 
she  gaily  terms  her  "return  to  her  eradle."  She  will  doubtless  find  here 
the  same  triumphs  which  welcomed  her  in  the  Old  World,  where  she  was 
adored  as  well  as  a  Avoman  as  a  singer. 

The  two  following  facts  from  out  of  a  thousand  others  Avill  show  in 
what  estimation  she  is  held  in  Europe.  Last  year  upon  the  occasion  of 
her  last  appearance  in  Berlin,  the  Emperor  William  sent  her  his  portrait 
magnificently  framed,  with  this  inscription  written  by  his  own  royal  hand ; 

"  Guillaume, 

Im,perator-Rex, 

1880." 


14 

In  Germany  this  honor  is  strictly  reserved  for  members  of  reigning- 
royal  families,  and  at  the  time  when  Madame  Patti  received  this  portrait, 
the  Emperor  had  not  3'et  sent  a  similar  one  to  Prince  Rndolph  of  Austria 
on  the  occasion  of  his  marriage  with  the  daughter  of  the  King  of  the 
Belgians.  Some  time  after  the  close  of  her  season  in  Berlin,  in  the 
month  of  December  of  the  same  year,  Madame  Patti  sang  at  Madrid, 
where  her  success  sui-jiassed  all  bounds.  She  was  invited  to  Court  where 
she  Avas  most  cordially  welcomed.  During  the  evening  the  Queen  brought 
her  newly  born  infant  and,  placing  it  in  the  arras  of  the  Diva,  said  :  "At 
all  events,  when  she  grows  up,  she  will  be  able  to  say  that  she  had  the 
honor  of  being  held  in  the  arms  of  ''The  Patti";  that  will  bring  her 
good  luck."  As  the  Emperor  William  had  done,  the  King  and  Queen 
presented  her  with  their  portraits  bearing  this  magnificent  inscription  : 

,    "A  la  Senora  Adelina  Patti  recuerdo  de  unos  admiradores  de  la  gran, 
"ailista,  y  intusiastos  de  la  Madrilena. 

"  Maria  Cristina. .  Alfonso. 

"Madrid,  Decembre,  18S0." 

(To  Madame  Adelina  Patti  as  a  souvenir  of  profound  admiration  for 
the  great  artist  and  of  great  enthusiasm  towards  the  native  of  Madrid.) 

Wonderful  propositions  were  made  to  her  if  she  would  remain  in 
Madrid.  Among  other  things  she  was  offered  a  palace  on  the  Prado,  the 
title  deeds  of  a  large  amount  of  property  and  860,000  for  thirty  perform- 
ances. Madame  Patti,  however,  refused  every  offer  as  she  wished  t» 
return  to  the  United  States  in  the  full  splendor  of  her  voice,  which  is- 
now  richer  than  ever. 

While  some  one  was  insisting  upon  her  acceptance  of  these  offers,  it 
was  remarked  that  she  was  born  in  Spain,  indeed  in  Madrid. 

"Yes,"  she  replied,  "I  was  bom  in  Spain,  but  I  was  brought  up  in 
the  United  States,  and  I  wish  that  the  compatriots  of  my  childhood 
should  hear  me  while  I  am  still  in  the  full  possession  of  my  powers." 

This  was  her  only  reason  for  leaving  her  magnificent  castle^ 
Craig-y-nos,  in  Wales,  for  braving  the  dangers  and  fatigues  of  a  voyage 
across  the  Atlantic,  and  for  abandoning  the  magnificent  offers  of  large 
sums  of  money,  which  have  been  made  to  her  in  Europe. 

This  desire  of  "returning  home"  does  her  honor  but  will  not  surprise 
anyone  who  knows  Adelina  Patti.  She  is  a  true  artiste  exceptionally 
gifted  by  nature,  and  doubtless  God  would  never  have  sent  her  into  the 
world  except  on  a  day  when  he  was  well  pleased  with  mankind. 


TWO  LETTERS  FROM  RICHARD  WAGNER. 


During  the  Grand  Operatic  Festival  at  Bavreuth  in  1876,  a  number  of  new 
Grand  Pianos  of  the  most  celebrated  European  as  Avell  as  of  several  American 
makers  had  been  placed  at  Mr.  Kichard  Wagner's  disposal;  among  them  a  new 
Centennial  Concert  Grand  piano  made  by  "Steinway  &  Sons"  of  New  York, 
■which  from  its  Avonderful  power,  beauty  and  sympathetic  quality  of  tone  far 
outshone  all  rival  instruments  and  which  Mr.  Richard  "Wagner  at  once  chose  for 
his  own  private  use. 

In  the  beginning  of  1379,  Mr.  Wagner  was  requested  by  Mr.  Theo.  Steinway 
to  send  this  Grand  piano  to  the  Steinway  Central  European  depot,  in  order  to 
receive  the  latest  invention,  the  "Tone  Pulsator,"  patented  in  July  1878.  On 
sending  the  Grand,  Mr.  Wagner  Avrites  as  follows: 

"Bayreuth,  March  11th,  1879. 
J/y  dear  Mr.  Steinway, 

I  miss  my  Steinway  Grand  as  one  misses  a  beloved  wife;  it  is 
wanting  constantly,  wanting  everywhere.  I  no  longer  indulge  in  music  since 
that  Grand  is  gone,  and  trust  its  absence  will  not  be  too  long  protracted. 

Very  truly  yours, 

EICHARD  WAGXER." 

The  following  letter  was  written  to  Mr.  Theodore  Steinway  by  the  great 
Master  shortly  after  the  return  of  the  Steinway  Grand  (now  containing  the  Tone 
Pul»ator)  to  his  home: 

"Bayreuth,  April  11th,  1879. 
My  dear  Mr.  Steinway, 

Really,  you  ought  personally  to  have  witnessed  the  gratification 
which  I  experienced  upon  receiving  back  your  magnificent  Grand  piano;  you 
certainly  would  not  have  asked  me  to  add  another  Avord. 

I  do  indeed  deem  it  humiliating  for  so  many  other  branches  of  art,  that  this 
art  of  building  ])ianofortes  alone  should  so  closely  approach  such  undeniable  ideal 
perfection.  I  know  of  nothing  in  Painting,  Scidpture,  Architecture,  Literature 
and,  imfortunately  also  Music,  which — since  I  have  comprehension  of  same — could 
compare  with  the  masterly  perfection  reached  in  pianoforte  building. 

From  your  communication  however  I  readily  perceive  with  what  enthusiastic 
love  you  seek  to  attain  the  incorporation  of  the  most  "spirituelle"  tone  into  the 
piano  which  heretofore  had  only  served  as  the  exponent  of  actual  musical  sound. 
Our  great  Tone-Masters,  when  writing  the  grandest  of  their  creations  for  the 
pianoforte,  seem  to  have  had  a  presentiment  of  the  Ideal  Grand  Piano,  as  now 
attained  by  yourselves.  A  Beethoven  Sonata,  a  Bach  Chromatic  Phantasie,  can 
only  be  fully  appreciated  when  rendered  upon  one  of  your  pianofortes. 

Although  I  do  not  possess  the  slightest  dexterity  in  pianoforte  playing, 
I  delight  in  being  able  to  do  justice  to  your  assumption  of  my  inborn  and 
cultivated  sense  of  tone.  For  Sounds  of  such  Beauty  as  those  coming  from  my 
Steinway  Grand,  flatter  and  coax  the  most  agreeable  Tone-pictures  from  my 
harmonic  melodic  senses. 

In  a  -word,  "I  find  Your  Grand  piano  of  wondrous  beauty.  It  is  a  noble 
work  of  Art."  And  with  a  thousand  thanks  for  this  new  attention,  I  delight  in 
being  able  to  call  myself 

Your  friend, 

EICHARD  WAGNER." 


STEINWAY  &  SONS' 

Grand,     Square     and     Upright     Pianos 
INVARIABLY    VICTORIOUS! 


In  order  to  protect  the  public  against  imposition  and  as  a  rebuke  to 
unscrupulous  advertisers,  the  Judges  on  Pianos  at  the  Centennial  Exhibition, 
Philadelphia,  1876,  have  given  to  Steinway  &  Sons  the  following 

CERTIFICATE : 

'^Tliis  is  to  certify,  that  the  ^piano-fortes  of  Messrs.  Steinway  d:  Sons, 
comprising  Concert  and  Parlor  Grand,  Square  and  Ujjright,  exhibited 
hi/  them  at  the  Centennial  Exposition  at  Philadelphia  in  187G,  pre- 
sented the  greatest  totality  of  excellent  qualities  and  novelty  of 
construction,  and  in  all  points,  of  excellence  they  received  our  highest 
average  of  points,  and  accordingly  our  unanimous  opinion  concedes  to 
Messrs.  Steimcay  a?  Sons'  '^Highest  degree  of  excellence  in  all  their 
sfyles'\^' — Bated  July  2Stli,  1877. 

Signed : 

WrLLiAM  TnoMsox,  Henry  K.  Oliver, 

E.  Lavasseur,  Geo.  F.  Buistow, 

Ed.  Favre  Perret,  James  C.  Watson, 

J.   SCHDEDMAYER,  JOSEPH   HeXRY, 

J.  E.  HiLGARD,  F.  A.  P.  Baknard. 


The  public  is  respectfully  cautioned  against  tables  of  figures  advertised  by 
several  unprincipled  pianoforte  manufacturers,  for  which  no  authority  whatever 
can  be  produced,  and  which  have  been  contradicted  and  declared  false  and 
fraudulent  by  the  Judges  themselves.  The  ratings  on  the  instruments  of  the 
different  exhibitors,  as  originally  made  and  copied  by  the  Judges  from  their 
note-books,  reveal  the  significant  fact  that  the  Steinway  Pianofortes,  in  each 
and  e\erj  style,  were  rated  far  above  all  other  competing  instruments,  and  reached  a 

GRAND    TOTAL    AVERAGE    OF 
95ii       OUT     OF     A     POSSIBLE       961! 


The  next  highest  exhibitor  reached 
90%       ONLY    OUT    OF   A    POSSIBLE      96!!! 

The  certificates  above  mentioned  can  be  seen  at  the  Steinway  Warerooms. 


Every  Steixway  Piano  is  fully  warranted  for  Five  Years. 
^p  Illustrated  Catalogues,  with  Price  List,  mailed  free  on  application. 

STEINWAY    &    SONS'    WAREROOMS, 

STEINWAY     HALL, 
Xo8.    109    atid    111    East    14th    Street,    New    York. 


HECTOR  BERLIOZ. 

Paris,  September  25,  1867. 
Messrs.  Steinway  &  Soxs: 

1  have  heard  the  tnagnifioent  pianes  you  brought  from  America  and 
which  emanate  fn>m  your  factory.  J^ermit  me  to  compliment  yon  upon 
the  excellent  and  rare  (pialities  which  these  in.-<trnnienrs  possess.  Their 
sonority  is  splemlid  and  essentially  nuble;  nmreover,  yon  have  discovered 
the  secret  to  lessen,  to  an  im[)erceptilde  puint,  that  unplea.^ant  harmcmic 
of  the  minor  seventh,  which  hererol'-'re  made  itself  heard  on. the  eiglith  or 
ninth  node  of  the  longer  strings,  to  sucli  a  degree  as  to  render  some  of 
the  most  simjde  and  finest  chords  disagreealde  (cact)})li(Mii(jne).  This 
improvement  is  a  gre  it  progress  among  the  vaiitms  others  yon  have 
imroduced  in  the  m  iiinfa(;tm"e  of  your  Pianos — a  progress  for  which  all 
artists  and  amateurs  gifted  with  delicate  perception,  must  be  iriMnitely 
indebteil  t'>  yon. 

Accept,  I  beg  of  you,  with  my  compliments,  my  highest  respects. 

Your  devoted 

HECTOR  BERLIOZ. 


A,  3IAR3IONTEL. 

Paris,  July  20,  1867. 
Mes.'irs.  Steinway  &  Sons: 

I  rejoice  in  the  justified  success  which  your  Pianos  have  had  at  the 
Exposition. 

The  International  and  French  .Tury,  in  placing  them  ^rs^  on  the  list, 
brilliantly  confirm  the  lively  an<l  deep  impression  which  these  excellent 
Pianos  have  produced  on  me. 

With-  kind  affections,  yours, 

MARMONTEL. 


ADOLPHE  IIENSELT. 

Paris,  September  2,  1867. 
Messrs.  Steinway  &  Sons: 

Gentlemen:  It  is  with  the  greatest  jdeasnre  that  I  have  jnst 
played  upon  your  Pianos,  and  can  not  refrain  from  ex|)res.-ing  to  yon,  in 
writing,  my  adiniraiii>n,  and  how  much  I  was  satisfied  with  them. 
I  regret  mncli  not  to  have  se«'n  you  personally  in  Paris. 

Accept,  1  beg  of  you,  the  assurance  of  my  distinguished  regards. 

ADOLPHE  HENSELT. 


STEINWAY  &  SONS, 


MANUFACTURERS    OF 


HBAl,  SPABE,  AND  UPRIGHT 

MAlif0Efli. 


«  « 

Steinway  &  Sons  are  fh^  cjply.  Mahuf^SlRir^rs  a«,'Ko  make  every 
part  of  their  Piano-fortes,  exterior  and  interior  (including  the 
casting  of  the  full  iron  frames),  in  their  own  factories. 


NEW    YORK    WAREROOMS: 

S  T  E  I  ISr  "VSr^"3r     H  JL  Xj  L , 

Nos.     107,     I09    and     III     East     14th     Street. 


CENTRAL  EUROPEAN  DEPOT: 

8  T  E  I  ISr  W^  Y     H  ^  L  11. , 

No.  15  Lower  Seymour  Street,  Fortman  Square,  W. 

LONDON. 


FACTORY: 

BLOCK  BOUNDED  BY  4TH  &  LEIIN&TON  AVES,  52ND  &  53RD  STS, 
NEW     YORK. 


SAW     MILL,     IRON     FOUNDRY    AND     METAL    WORKS: 

Opposite    One    Hundred    and    Twentieth    Street,    New    Yorli. 


ILLUSTRATED  CATALOGUES  MAILED  FREE  ON  APPLICATION. 

Steinway  &  Sons; 

NEW    YORK. 

H.  A.  KOST,   STEAM  JOl!  ruiM'EU,   3  &  5  NOllTH  WILLIAII  SIKF.KT. 


